The operas I listen to aren't in English, and I want to listen to my opera after I'm done with it. I want to have the desire to play it on the stereo. To me, the language is part of the mystery.

You had to be an over-the-top, demanding, dramatic figure in order to progress as a woman in Europe over the last few hundred years. Now people say, "You're being such a prima donna," meaning you're being hard to deal with or crazy. It's a bit sexist.

I think everybody identified at a pretty young age that I was fairly entranced with myself. And that I had to be tempered.

When I was young, my mother [folk singer Kate McGarrigle] brought home this recording of Verdi's Requiem and we listened to it from top to bottom. By the end of it, I was a completely different person. It was literally a requiem mass for my former self. I was about 12 or 13. The Requiem just totally hooked into what I was going through emotionally - discovering my sexuality right at the time when AIDS was devastating my community and dealing with intense parental situations.

That will to love is very powerful. But it doesn't always win.

Arguably, the relationship between Liza Minnelli and Judy Garland is one of the great mother-daughter sagas of all time. Certainly, for certain people, and a lot of them, Liza is the bigger star. Liza is the more kind of viable legend, shall we say. Then there's the other camp, where Judy is the one.

I want to carve out a serious period of time to focus on the next opera without any distractions. And to do that you need money.